Page numbers refer to the print edition.
Page numbers in italics refer to figures.
Actaeon myth, 65–66, 70, 96, 98, 110, 113–14, 119, 131, 133, 190
Actes and Monuments (Foxe), 100
Adelman, Janet, 160–61, 175, 181, 183, 200, 201, 206
Admonition to the Nobility and People of England and Ireland (Allen), 30, 35–38, 42–43, 46, 61, 63, 68, 73, 79–80, 132, 184
age-in-love trope: in Antony and Cleopatra, 162–63, 181, 183, 186–87, 192–94, 202, 206; definition of, 2; in Endymion, 35, 37, 56–57, 69, 74; in Merry Wives of Windsor, 2, 84, 110–17; in News from Heaven and Hell, 94; and performance, 1–5; and second reign of Elizabeth, 5; Shakespeare’s fascination with, 1–4, 12–22, 28–29; in Shakespeare’s sonnet sequence, 1–5, 154–58; in Twelfth Night, 20, 31, 125, 141–43, 151–53, 156; and vanity, 1, 5, 20, 57, 60, 71, 73, 97, 111, 141, 155–56; and wit, 11
Ajax. See A New Discourse on a Stale Subject, or the Metamorphosis of Ajax (Harington)
Allen, William, 73, 125, 161; Admonition to the Nobility, 30, 35–38, 42–43, 46, 61, 63, 68, 73, 79–80, 132, 184. See also A Briefe Discoverie of Dr. Allen’s Seditious Driftes
amans senex, 5, 9, 19–20, 30–31, 73, 95, 153, 164, 182. See also senex amans
androgyny, 2
anticourt polemics, 31, 71, 82, 96, 121, 125, 139, 159–64, 190, 202; as “slanderous devices,” 55, 93, 95, 114, 138; suppression of, 53–55. See also Admonition to the Nobility; Leicester’s Commonwealth
Anton, Robert, 201
Antonie and Cleopatra (Greville), 173–74, 196
Antony and Cleopatra (Shakespeare): and age-in-love trope, 162–63, 181, 183, 186–87, 192–94, 202, 206; age of actor playing Antony in, 163, 203; and bearbaiting, 174, 183; and emotion, 165, 179–81, 188–90, 195–203; eulogies of Antony in, 199–200; and “great fairy,” 15, 178, 181, 202; judgment in, 185, 188–89; and Metamorphoses, 186, 191, 194; and news, 188, 190; and “Life of Marcus Antonius,” 31, 166–68, 171–72, 175–76, 180–82, 184, 187–88, 190–92; and royal favoritism, 164, 166–67, 173–74, 177, 180, 192, 194; and the theater, 167–68, 188–89, 190, 201–2
Arden, Alice, 58–59
Arnold, Janet, 40
Arraygnment of Paris (Peele), 130, 132
As You Like It (Shakespeare), 10, 16–17
Atwood, Margaret, 205
Auden, W. H., 110
Ave Caesar (Rowlands), 195
Bacon, Francis, 8, 42, 59–60, 63, 99, 131, 176, 191, 200, 206
Bartholomew Fair (Jonson), 24
Barthomolaeus Anglicus, 19
Barton, John, 140
bearbaiting, 4, 8; bandogs used for, 73; as contests of wit, 82, 84; Leicester’s event of, 51–52
bearbaiting trope, 27; in Antony and Cleopatra, 174, 183; and Falstaff, 100, 109–17; in Merry Wives of Windsor, 9, 31, 110–17; in News from Heaven and Hell, 91–93, 112; Shakespeare’s earliest reference to, 9; in Twelfth Night, 9, 123, 125–26, 135, 138–39, 143–51. See also Dudley bear and ragged staff
Berger, Harry, Jr., 82–83
Berry, Philippa, 38
Betts, Hannah, 34
Bishop’s Ban of 1599, 137
Blanchett, Cate, 39
The Blessedness of Brytaine or a Celebration of the Queen’s Holyday (Kyffin), 168–69
Blundeville, Thomas, 8, 11, 79
Bond, Sallie, 58
Bono, Barbara, 203
Book of the Courtier (Castiglione): ambiguous references to real persons in, 27; on derisive laughter, 11, 36, 48; on distinction between lust and love, 156; on old men in love, 3, 11, 17, 18, 36, 40, 85; on unbridled desire, 92; on wit and judgment, 82, 84
Boym, Svetlana, 125–26, 132, 152, 153, 166
Bradley, A. C., 193
Breitenberg, Mark, 19
Brennan, Liam, 141
A Briefe Discoverie of Dr. Allen’s Seditious Driftes, 80, 82, 100
Burbage, Richard, 159, 162–63, 186–87, 200, 203, 208
Burghley, Lord (William Cecil), 3, 45–46, 48, 57, 217n6
Canterbury Tales (Chaucer), 20, 71, 98
Carroll, Tim, 141
Castiglione, Baldesar. See Book of the Courtier
castration, 73, 91, 93, 129, 184. See also emasculation
Cather, Willa, 206
Catholics: dissidents, 36, 81; exiled, 9, 36, 38, 42, 83; and Leicester’s Commonwealth, 6, 35, 94
Cavendish, Margaret, 206
Cecil, William. See Burghley, Lord (William Cecil)
Chapman, George, 63
Charles I of England, 151
Chronicles (Holinshed), 87, 124
Cicero, 20, 34, 58, 73, 167, 182, 185; Cato Maior, 16; on “unadvised adolescencye,” 18, 134
Clapham, John, 42
class. See social class
Cleopatra (Daniel), 172
Collington, Philip, 16
Comedy of Errors (Shakespeare), 26–27
costume and dress: age-expected norms of, 33, 135; and bodily composition, 134–35; changes in, 2, 73, 75, 134; expense of, 86; old clothing as, 86, 102; and “popular breeches,” 85, 102, 118; stockings as, 2, 134, 135, 245n65
cross-dressing, 2, 21, 36, 37, 73, 74, 113, 140, 160, 193
cuckoldry, 19–20. See also senex amans
Cymbeline (Shakespeare), 206
Cynthia’s Revels. See The Fountaine of Selfe-Love or Cynthia’s Revels (Jonson)
Daniel, Samuel, 172
Dash, Irene, 180
Davison, Francis, 46
“The Dead Man’s Right” (anon.), 87, 94
Deats, Sara, 36
defamation, 10, 53, 105. See also libel; slander
deformity: and aging males, 36, 64, 70, 142; and Antony, 186; and Elizabeth’s favorites, 36, 64; and Endymion, 36, 70; and Every Man Out of His Humour, 145, 151; laughter and ridicule at, 36, 70, 125, 134, 148; and love, 36; of texts, 128; and Twelfth Night, 125, 128, 134, 142, 150–51
Dekker, Thomas, 144
de Maisse, André Hurault, 37, 43–45, 177
democratization: and age-in-love figures, 12; and the public sphere, 12; and the theater, 10, 84
desire: and age, 1, 17–19, 35, 40, 71–72, 101, 106, 125, 154, 156; “Deep,” 34–35, 64, 93, 144, 175; and nostalgia, 200; and public duty, 178–79; and Sonnet 138, 1, 18; transgressive, 65; “unnatural,” 69
Devereux, Robert. See Essex, Earl of (Robert Devereux)
dotage, 18, 31, 58, 70, 184–86, 194
Doty, Jeffrey S., 6, 10, 12, 85
dress. See costume and dress
The Duchess of Malfi (Webster), 138, 206
Dudley, Ambrose. See Warwick, Earl of (Ambrose Dudley)
Dudley, John, 47
Dudley, Robert. See Leicester, Earl of (Robert Dudley)
Dudley bear and ragged staff, 7, 8, 35, 48, 51–53, 65, 86, 87, 89–91, 101, 103
Dudley family, 47–48
Dyer, Edmund, 21
effeminacy, 16–17, 38, 47, 109, 112, 117, 142, 146, 161, 171, 184
Eggert, Katherine, 22, 163, 165, 177
Elizabeth: accession of, 2–3; age of the court of, 3; death of, 195; and identification with Richard II, 82; length of reign and age of, 41–44; moon cult of, 34, 38, 65, 78, 110, 196; Ovidian allusions to, 4, 35, 36, 38, 56, 63–66, 68, 72, 96–97, 104, 109, 113, 145; pet names for favorites of, 48, 62, 96; portraits of, 169–71; Rainbow Portrait of, 78, 169, 170, 171; and the Queen’s Men, 12–13; second reign of, 5, 20–22; and snake symbolism, 169, 170, 171; speculation on age of, 42; Tilbury speech of, 164, 176
Ellis, Anthony, 16
emasculation, 52, 67, 93, 96, 113, 150, 173, 186, 190
Endymion (Lyly): and age-in-love trope, 35, 37, 56–57, 69, 74; and aging Elizabethan court, 3, 33, 38, 41–42, 57–75; Bacon on, 59–60; bearbaiting in, 73; deformity in, 36, 70; Earl of Oxford as patron of, 57; as fable about princes and favorites, 59–60; and Leicester’s Commonwealth, 56–57; male sexuality in, 33–37, 39, 57, 66–75; and Metamorphoses, 36, 46, 66, 72; mundus scenescit trope in, 57–58; and pastimes, 24–26, 27, 31, 56; and royal favoritism, 24, 30, 33, 36, 58–70, 74; and rumor, 56, 59–60, 68–69; and satire, 37; and scandal, 30, 56, 60; and senex amans, 5, 73, 95; on solitary lives of favorites, 61; as source for Merry Wives of Windsor, 23, 78; and Twelfth Night, 122–25, 130–35, 140, 152–54; and vanity, 71, 73; wind metaphor in, 56
England’s Caesar, 195
entertainments: of Ditchley, 59; of Kenilworth, 6, 13, 34, 51, 64, 86–87, 92–93, 97, 132, 153, 175; of Woodstock, 97. See also pastimes
Essex, Countess of (Lettice Knollys), 61, 67
Essex, Earl of (Robert Devereux), 8, 26, 27, 117, 165; Blessedness of Brytaine dedicated to, 168; and comparisons to Antonius, 172, 180; contemporary public response to, 21; on Elizabeth’s age, 41, 42; and Falstaff, 111, 114; historical privileging of, 22, 180, 207–8; as “proto-democratic” figure, 207; rebellion of, 42, 138, 172–74; and response to Elizabeth’s letters, 176; and self-love, 131
eulogies, 199–200
Every Man Out of His Humour (Jonson), 123, 128, 130, 138–40, 144–46, 151
The Faerie Queene (Spenser), 86–87, 92, 96, 97–98
fairies and fairy queens, 25, 71, 74; in Antony and Cleopatra, 15, 178, 181, 202; in Merry Wives of Windsor, 114, 131; in Midsummer Night’s Dream, 96–99, 124
Falstaff, 87, 89, 163; in cross-dressing scene, 113, 193; death of, 121; dehumanization of, 110; and desire for new livery, 106; effeminacy of, 110; Elizabeth’s connection to, 77–78; in the haunting of Twelfth Night, 31, 123, 126, 129, 131–34, 141, 147, 149–50; Jonson’s ghosting of, 122; and minion, 78; and the moon, 77–79; in “Munsur Fatpanche,”101; pity for, 109; publicity of, 118; self-description of, 77–78; self-promotion of, 103–4; theatrical ghosting of, 81–82; and transgressions of Elizabethan court, 78, 82; and wit and judgment, 77, 81–84, 101, 112, 147, 149, 181, 182, 187
favoritism. See royal favoritism
The First Part of Sir John Oldcastle (anon.), 100, 129
fish: as Elizabeth’s caught or tamed favorites, 63–64, 174; as Elizabeth’s pet name for Ralegh, 48, 62, 63
Fitz, L. T., 128
The Fountaine of Selfe-Love or Cynthia’s Revels (Jonson), 123, 131, 133, 138, 145–46; “popular breeches” in, 85, 102, 118
Foxe, John, 100
Freedman, Barbara, 106
Frye, Stephen, 141
Frye, Susan, 22
A Game at Chess (Middleton), 26
Garnier, Robert, 172–73
Gascoigne, George, 34, 64, 86, 107; Noble Arte of Venerie or Hunting, 86–87, 107, 108, 114; “Princely Pleasures,” 34, 64
gender: bending categories of, 74, 91, 95–96, 140–41; convergence of, 193; and Elizabethan moon cult, 38; Elizabeth’s exploitation of, 44; versus generational categories, 192; hierarchies of, 12–13, 48; and judgment, 107, 115; and longing, 12; old men and norms of, 2, 3, 5, 14, 16, 21, 48, 91, 95–96; as political asset, 63, 93; and power, 159, 164, 190; and the public sphere, 12, 84; and social decorum, 12
“Gertrude Talks Back” (Atwood), 205
Globe, 86, 102, 122, 141, 159, 162
Goddard, William, 144
“Golden Age” (film), 39
Golding, Arthur. See Metamorphoses (Ovid), Golding’s translation of
Goldring, Elizabeth, 6
Goodman, Godfrey, 42
Gorboduc (Norton and Sackville), 138
gossip, 56, 117, 123, 163, 172, 187, 194; about Hatton, 3–4, 13, 133; about Leicester, 3–4, 84, 87, 93–94, 205; and scandal, 93–94. See also Leicester’s Commonwealth; rumor; scandal
Gosson, Stephen, 10, 105, 167, 190, 202
Grady, Hugh, 23
Greenblatt, Stephen, 22, 97, 130, 148
Greville, Fulke, 173–74, 184, 196, 197
Halpin, N. J., 25
Hamlet (Shakespeare), 4–5, 16, 17, 25, 27–28, 106, 122, 159–63, 178, 185–86, 192, 202, 205–7
Harington, Sir John: on Elizabeth, 43, 64; fishing analogy of, 64; A New Discourse on a Stale Subject, or the Metamorphosis of Ajax, 31, 123–24, 136, 137
Harvey, Gabriel, 57
Hatton, Christopher, 13–15, 22, 29, 33–34, 47, 71, 114, 138, 146, 149, 155, 176; and abdication of traditional masculinity, 21, 34, 184; age of, 3–4, 57; on Elizabeth as “fishing” for courtiers, 64, 174; Elizabeth’s preference for men like, 180; and Endymion, 61–64; John Guy on, 207; as pattern, 176; sheep as Elizabeth’s pet name for, 48, 59; theatrical description of, 13–14; and vulnerability to slander, 46
Hawthorne, Nigel, 141
Heminge, John, 86
The Henriad (Shakespeare): 1 Henry IV, 29, 77, 78, 79, 81–84, 99–104, 106, 109–10, 112, 116–19, 124, 126, 154; 2 Henry IV, 9, 28, 79, 81, 83, 99–107, 110, 115–17, 121, 141; Henry V, 85, 87, 117, 121, 147; 2 Henry VI, 9; Richard II, 81–82; Richard III, 45
Hobbes, Thomas, 105
horizontal exchanges, 84
Hornback, Robert, 102
humoral theory of sexuality and aging, 39, 69
Hunt, Maurice, 23
“Hymnus in Cynthiam” (Chapman), 63
Isle of Dogs (Jonson and Nashe), 24, 144
James I of England (James VI of Scotland), 5, 41, 163, 172, 195–97
James IV of Scotland, 57
James VI of Scotland (James I of England), 5, 41, 163, 172, 195–97
Jones, Rosalind, 86
Jonson, Ben, 24–26; Bartholomew Fair, 24; on Elizabeth’s age, 42; Every Man Out of His Humour, 25, 26, 29, 122–23, 128, 130, 138–40, 144–46, 151; Fountaine of Selfe-Love or Cynthia’s Revels, 85, 102, 118, 123, 131, 133, 138, 145–46; ghosting of Falstaff by, 122; imprisonment of, 24; Isle of Dogs, 24, 144; and “narrow-eyed decipherers,” 26, 29; and “popular breeches,” 85–86, 102, 118; and Shakespeare, 12, 25, 115, 122–23; Twelfth Night’s allusions to works of, 122–23, 128, 130–31, 133, 138–40, 144–46, 151
judgment. See wit and judgment
Kaine, Tim, 3
Kapur, Shekhar, 39
Kempe, Will, 12, 28, 86, 101–4, 107, 119, 163, 186, 208
King Lear (Shakespeare), 10–11
Kingsley, Ben, 141
Knights of the Garter, 51, 53, 110–11, 114–15
Kyd, Thomas, 89
Lamb, Charles, 151
Leicester, Earl of (Robert Dudley): age of, 3–4; aging body of, 48, 50–53; and bearbaiting event, 51–52; and commissioning of Golding’s Metamorphoses translation, 97; in “Dead Mans Right,” 87, 94; death of, 85; and death of son, 62; as Elizabeth’s lapdog, 174, 226n158; Golding’s dedicatory letter to, 35, 65, 87; gossip and scandal about, 3–4, 84, 87, 93–94, 205; as governor-general of the Netherlands, 50; and Kenilworth, 6, 13, 34, 51, 64, 86–87, 92–93, 97, 132, 153, 175; libido of, 6, 50–53; marriage of, 61–62; patronage of traveling troupe by, 85; and printing press, 6, 86; Segar’s portrait of, 48, 49; self-promotion of, 85, 87; and slander, 14, 21, 36, 46, 53, 55, 87, 89–90, 101, 104–5, 114; transgressions of, 52, 95, 118; and vanity, 50, 64, 91, 97. See also Leicester’s Commonwealth
Leicester’s Commonwealth (anon.), 62, 82, 90–91, 93–95, 114, 162, 184; anonymous Catholic expatriates as authors of, 6, 35, 94; and court trial, 78–79; and Dudley bear and ragged staff, 51–53, 54, 89; Elizabeth’s attempted suppression of, 56; and Endymion, 56–57; as entertainment, 89; as exploitation of public anxiety about favorites, 30, 35; female cameos in, 67; French translation of, 53, 54; impetus for, 8, 124; influence of, 87; on Leicester’s body and libido, 50–53, 55–57; misogynist arguments in, 146–47; popularity of, 52–53
Leoni, Téa, 26
libel, 10, 30, 53, 55, 80, 100. See also defamation; slander
Loomis, Catherine, 195, 198, 199
Lord Admiral’s Men, 106–17
Lord Chamberlain’s Men, 86, 106–7, 122
“A Lover’s Complaint” (Shakespeare), 158
Love’s Labor’s Lost (Shakespeare), 13
Lyly, John, 3; Earl of Oxford as patron of, 57, 74; and Elizabeth, 74; influence of, 23–24, 74–75. See also Endymion
MacFaul, Tom, 14
Machiavelli, Niccolò, 11, 45, 79–80, 89
Madam Secretary (television program), 26
Malcolmson, Cristina, 126, 127
Marc Antoine (Garnier), 172–73
Marlowe, Christopher, 46
Marprelate controversy, 100
Marston, John, 137
Martin, Christopher, 16, 40, 157
Mary, Queen of Scots, 41, 57, 67
masculinity, 3, 6, 12–14, 16, 21–22, 205–7; abdication of, 21, 59–61, 73; and Antony, 164–65, 175; feminine perspective of, 195, 201, 202, 206; hyper, 48; and old men, 34, 40, 46, 48, 207; and wit and judgment, 84
A Mastif Whelp with Other Ruff-Island-lik Currs Fetcht from Amongts the Antipedes (Goddard), 144
McLaren, A. N., 93
memory: individual and collective, 126, 200; and the theater, 27–29, 82, 95, 102–4, 111, 122, 123
Merry Wives of Windsor (Shakespeare), 4, 9, 10, 31, 84, 110–17, 122, 194; age-in-love trope in, 2, 84, 110–17; bearbaiting in, 9, 31, 110–17; comparative judgment of, 84, 111–17; Elizabeth’s role in writing of, 77; Endymion as source for, 23, 78; punishment in, 111–12; and Twelfth Night, 131–32, 135
Metamorphoses (Ovid): and Antony and Cleopatra, 186, 191, 194; Aurora in, 36, 56, 194; Circe in, 4, 35, 96, 104, 109, 114, 132, 145, 171, 174, 184–85, 190, 193, 203; and Elizabethan allusions, 4, 35, 36, 38, 56, 63–66, 68, 72, 96–97, 104, 109, 113, 145; and Endymion, 36, 46, 66, 72; and Merry Wives of Windsor, 113; on passion, 186; and royal favorites, 4, 35; Tithonus in, 36, 38, 46
Metamorphoses (Ovid), Golding’s translation of: dedicatory letter to Leicester in, 35, 65, 87; Dudley bear and ragged staff displayed on, 35, 65, 87, 88; Leicester’s commissioning of, 97; title page of, 87, 88
The Metamorphosis of Pygmalions Image (Marston), 137
Microcynicon (Middleton) 144
Middleton, Thomas, 12, 29; Game at Chess, 26; influence of Lyly on, 24; Microcynicon, 144; Revenger’s Tragedy, 5, 159–63, 178, 181–82, 185, 188, 189
A Midsummer Night’s Dream (Shakespeare), 14, 15, 151–52, 172, 181; Bottom in, 2, 14, 95, 96, 98–101, 107, 115, 124, 163, 181, 182, 202; Endymion as source for, 23, 95; Fairy Queen in, 96–99, 124; Kenilworth as inspiration of, 97; and masculine merit versus feminine perspective, 202; and Shakespeare scholars, 22; and women in power, 205
miles gloriosus, 71, 73, 95, 113, 129, 182–83
minion, definition of, 78
misogyny, 12, 22, 44, 146, 180, 201, 203, 207, 213–14n58
Montrose, Louis, 14, 22, 25, 37, 38, 41, 44
moon: Elizabeth’s cult of, 34, 38, 65, 78, 110, 196; in Endymion, 58–59, 62–63, 67, 69, 181; and Falstaff, 78–79; and Isis, 169; minions of, 30, 77
Muir, Kenneth, 178
Mullaney, Steven, 37, 38, 39, 159–60, 201
mundus scenescit (trope), 37, 57–58
Nashe, Thomas: and Bishop’s Ban of 1599, 137; Choice of Valentines,137; Isle of Dogs, 24, 144; Pierce Penniless’s Supplication to the Devil, 87
Netherlands, 25, 50, 53, 79, 87, 91, 102
Neoplatonism, 37, 40, 65, 69, 124, 162, 183, 193
A New Discourse on a Stale Subject, or the Metamorphosis of Ajax (Harington): bearbaiting in, 123–24; Twelfth Night’s allusions to, 31, 123–24, 136, 137
news, 10–11; of Antony, 188, 190; of Falstaff’s death, 121; and rumor, 104–5
News from Heaven and Hell (anon.), 90–95, 121, 133; age-in-love trope in, 94; bearbaiting trope in, 91–93, 112; “bere whelp” in, 92, 113, 194; and castration anxiety, 184; on Dudley bear and ragged staff, 90–91, 101; and judgment, 90–95; on Leicester 101, 102, 103; as precedent for Shakespeare, 90; and punishment, 90–95, 106, 112
The Noble Arte of Venerie or Hunting (Gascoigne), 86–87, 107, 108, 114
North, Sir Thomas, 165–66, 171, 187
Northumberland, Duke of (John Dudley), 47
nostalgia, 31, 125–26, 132, 152, 153, 155, 166, 200
Nunn, Trevor, 140–41
Nyquist, Mary, 175–76
Ocean to Cynthia (Ralegh), 38, 78, 130
Order of the Garter, 51, 53, 110–11, 114–15
Ormond, Earl of, 53
Ovid. See Metamorphoses (Ovid); Metamorphoses (Ovid), Golding’s translation of
Owen, Clive, 39
Pack, Roger Lloyd, 141
Parallel Lives (Plutarch; North’s translation), 165–66
pastimes: in Antony and Cleopatra, 168; definition of, 24; Elizabeth’s anxiety regarding, 82; in Endymion, 24–26, 27, 31, 56; and Falstaff, 90–100, 109, 110, 114, 116, 119; in Twelfth Night, 133, 139, 149–50
patriarchy, 3, 6, 16–17, 19, 61, 161, 164, 181, 190–91, 194, 202, 206
Patterson, Annabel, 27, 216n128
Paulet, Sir Amyas, 57
Pembroke, Countess of (Mary Sidney), 172–73
Perry, Curtis, 12, 68, 80, 85, 89, 94, 210n15
Petrarch, 19, 58, 65, 71, 72, 130, 140, 143–45, 161, 162
Philip II of Spain, 57
Pincus, Steven, 10
Plato, 128; Symposium, 127–28, 194. See also Neoplatonism
Plautus, 15; Menaechme, 128; miles gloriosus, 71. See also miles gloriosus
playgoers: and Antony and Cleopatra, 163, 167, 177–79, 181, 183, 185, 187–89, 196, 198, 200, 202; collaboration of, 27, 86, 102, 127, 133, 134, 136, 138–39, 181, 183; and Falstaff, 84, 100, 104–7, 110, 112–18; and laughter, 11, 27, 28, 105, 112, 125, 134, 148, 185, 188; and Shakespeare’s allusions to Elizabeth’s suitors, 27–29
Plutarch: influence on Shakespeare, 166–67; “Life of Marcus Antonius,” 31, 166–68, 171–72, 175–76, 180–82, 184, 187–88, 190–92; Parallel Lives, 165–66
Pole, John, 48
“popular breeches,” 85, 102, 118
popularity: of anticourt satire, 31, 36, 52; control of, 180; of court materials, 85; definition of, 6, 85; of dream-settings, 68; of Elizabethan moon cult, 38; and Leicester, 6, 87; of lost masculine ideal, 153; of verse satires, 137
Privy Council, 3, 24, 55, 114, 138, 195
Protestantism: and Falstaff, 100; and Leicester, 8, 25; and News from Heaven and Hell, 83, 94; radicals of, 6, 25; and treason, 100
publicity, 6, 8–10, 12, 29–30, 36–37, 86, 94, 118, 179
public-making texts and stories, 28, 90, 166
public sphere, 6, 10–12, 15, 80, 84, 89, 93, 150, 180
punishment: charivaris, 20, 214n89; in Merry Wives of Windsor, 111–12; in News from Heaven and Hell, 90–95, 106, 112; public, 20, 112; in Twelfth Night, 106, 139, 149
Purkiss, Diane, 73
Queen’s Men, 12–13
Quinn, Michael L., 4
Rainbow Portrait of Elizabeth I, 78, 169, 170
Ralegh, Sir Walter: and Elizabeth, 21, 38, 39, 41, 42, 47, 48, 62, 63, 65, 172, 174, 175; as Elizabeth’s “fish,” 48, 62, 63; “Golden Age” portrayal of, 39; and Jonson, 133, 145; as Middle Templar, 138; Ocean to Cynthia, 38, 78, 130; “Of Favorites,” 142; on old age, 1, 46, 141; as royal minion, 111; and Twelfth Night, 125, 130, 132, 133
Revenger’s Tragedy (Middleton), 5, 159–63, 178, 181–82, 185, 188, 189
Richard II (Shakespeare), 81–82
Richard III (Shakespeare), 45
Riehl, Anna, 44
Roach, Joseph, 104
royal favoritism, 3–4, 306–8; and Antony and Cleopatra, 164, 166–67, 173–74, 177, 180, 192, 194; and Elizabeth’s names, 48, 62, 96; and Endymion, 24, 30, 33, 36, 58–70, 74; and Hamlet, 161, 206; and minions, 47, 52, 59, 77–79, 81, 84, 94, 100, 104, 106, 110–11, 113–14, 116–17, 146–47, 200; public anxiety regarding, 30; and the theater, 12–14, 24–25, 26, 29; and transgression, 4, 46, 65, 75, 78; and Twelfth Night, 126, 131, 137–38, 142, 147, 148, 153; and vanity, 5, 57, 60, 73, 97, 99, 111, 116, 155
royal interference, 77
Rudd, Bishop, 42
rumor, 8, 187, 194, 199; about Elizabeth’s love affairs, 4; and Endymion, 56, 59–60, 68–69; and Falstaff, 82, 118. See also gossip; scandal
Rylance, Mark, 141
scandal, 9, 84, 109; definition of, 93–94; and Endymion, 30, 56, 60; and libel legislation, 55; transformation of, 109. See also gossip; rumor
Segar, William, 48; portrait of Robert Dudley, Earl of Leicester, 49
senex amans, 30–31, 73, 95, 153, 164, 182; in Antony and Cleopatra, 182; definition of, 19–20; and Elizabethan court, 30; in Endymion, 5, 73, 95; Shakespeare’s fascination with, 9, 20, 95; in Twelfth Night, 20, 31, 153, 164
Shakespeare, William: as an actor, 12–13; and age-in-love trope, 1–4, 12–22, 28–29, 206; As You Like It, 10, 16–17; Comedy of Errors, 26–27; and Jonson, 12, 25, 115, 122–23; King Lear, 10–11; Love’s Labor’s Lost, 13; Lyly’s influence on, 23; metatheatrical devices of, 10; Othello, 15, 19; and the revision of Plutarch’s “Life of Marcus Antonius,” 180–81; and senex amans, 9, 20, 95. See also Antony and Cleopatra; Hamlet; The Henriad; The Merry Wives of Windsor; A Midsummer Night’s Dream; sonnet sequence; Twelfth Night
Shannon, Laurie, 80
Shaw, George Bernard, 121, 201
Sheffield, Douglas, 67
Sheffield, Lady, 61
Shephard, Alexandra, 16
Sidney, Mary, 172–173
Sidney, Philip, 11, 50, 53, 55, 101, 105, 134, 148, 149, 172–75, 208
slander, 194; and antigovernment propaganda, 30, 53, 55, 87, 89–90, 138; devices of, 55, 93, 95, 114, 138; and Falstaff, 101, 104–5, 114, 117; against Hatton, 14, 46; against Leicester, 14, 21, 36, 46, 53, 55, 87, 89–90, 101, 104–5, 114; and pastimes, 150. See also defamation; libel
Simier, Jean de, 96
Smith, Mel, 141
Smith, Peter, 136
social class, 11, 13, 16, 30, 34, 75, 84, 89, 105–6, 112, 125, 140, 148
“social imaginary,” 21
social mobility, 2, 8, 14, 29, 34, 51, 58, 89, 126–27, 147, 154
sonnet sequence (Shakespeare), 126, 128, 154–58; age-in-love trope in, 1–5, 154–58; Sonnet 2, 155; Sonnet 5, 155; Sonnet 7, 155–56; Sonnet 16, 156; Sonnet 19, 155; Sonnet 20, 128; Sonnet 25, 155; Sonnet 31, 156; Sonnet 34, 56; Sonnet 37, 156; Sonnet 55, 156; Sonnet 60, 157; Sonnet 62, 155; Sonnet 63, 157; Sonnet 64, 155; Sonnet 65, 157; Sonnet 73, 157; Sonnet 76, 129; Sonnet 129, 20; Sonnet 138, 1–2, 15, 18–23, 75, 156; Sonnet 107, 155, 196
The Spanish Tragedy (Kyd), 89
Spenser, Edmund: Epithalamion, 59; Faerie Queene, 86–87, 92, 96, 97–98
sport and theater, 14, 26, 28, 84, 115, 118, 123, 144, 148–50, 206
“sportful malice,” 26, 149–50, 194
Stallybras, Peter, 86
Stanivuković, Goran, 153
Steggle, Matthew, 25
“strippling age,” 1
Sullivan, Garret, 59, 67, 109, 116
Tassi, Marguerite, 169
Taunton, Nina, 16
Taylor, Charles, 21
Tennenhouse, Leonard, 143, 165
theater, 83–84; and Antony and Cleopatra, 167–68, 188–89, 190, 201–2; bearbaiting compared to, 123; commodification of court materials by, 103; democratizing functions of, 10, 24, 105–6; and laughter, 11, 27–28, 105–6, 185; and Leicester, 103–4, 176; and memory, 27–29, 82, 95, 102–4, 111, 122, 123; memory machine aspect of, 28; and pastimes, 24; patronage system of, 12, 74, 106–7, 172; as place of judgment, 10–11; and Privy Council’s attempts to restrain, 106–7; and royal favorites, 12–14, 24–25, 26, 29; and shared emotions, 11, 12, 15–17, 28, 147–53, 188–90, 195–200; and sport, 14, 26, 28, 84, 115, 118, 123, 144, 148–50, 194; and Twelfth Night, 140–41
theatres: Globe, 86, 102, 122, 141, 159, 162; the Theatre, 12
transgressions: of aging sexuality, 75, 159; and Falstaff, 78, 82, 111; gendered, 92, 149; generational, 78, 141, 149; of Leicester, 52, 95, 118; as resistance, 81; of royal favorites, 4, 46, 65, 75, 78; of senex amans figure, 20; social and natural, 52; and Sonnet 138, 1; into transcendence, 15, 158
Twelfth Night (Shakespeare): age-in-love trope in, 20, 31, 125, 141–43, 151–53, 156; allusions to Ajax in, 123–24, 136, 137; allusions to Cynthia’s Revels in, 123, 131, 133, 138, 145–46; allusions to Endymion in, 122–25, 130–35, 140, 152–54; allusions to Every Man Out of His Humour in, 122–23, 128, 130, 138–40, 144–46, 151; and bearbaiting trope, 9, 123, 125, 143–51; and deformity, 125, 128, 134, 142, 150–51; division and subtraction in, 127–28; dogs and dogging in, 123, 144, 149–51; and emotional response of playgoers, 147–53; Falstaff’s haunting of, 31, 123, 126, 129, 131–34, 141, 147, 149–50; fustian riddle in, 127, 136; Jonson as target of, 143–43; and judgment, 137, 139, 142, 144, 147, 149–51; names in, 127; and nostalgia, 125–26; punishment in, 106, 139, 149; Rylance’s all-male production of, 141; and satirical norms, 129, 132, 135–37, 139–42, 144–51; senex amans in, 20, 31, 153, 164; stagings and productions of, 140–41; twinning and twins in, 125–28, 132, 140–41, 147, 154; and violence, 106, 141, 148, 150–51
United States presidential election of 2016, 208
vanity, 145, 219–20n44; and “age in love,” 1, 5, 20, 57, 60, 71, 73, 97, 111, 141, 155–56; and Antony, 166–67; Elizabeth accused of, 38, 40, 45–46; and Endymion, 71, 73; and Falstaff, 83, 99, 111; and Leicester, 50, 64, 91, 97; in Midsummer Night’s Dream, 97; and royal favoritism, 5, 57, 60, 73, 97, 99, 111, 116, 155; and Shakespeare’s sonnet sequence, 1, 156; and Twelfth Night, 141, 155
Vickers, Nancy J., 65
Waith, Eugene, 189
Walsingham, Sir Francis, 3, 53, 57
Warner, Michael, 12, 28, 55, 83, 90
Warwick, Earl of (Ambrose Dudley), 8–9, 144
Webster, John, 138; Duchess of Malfi, 138, 206; White Devil, 89
wind 56, 104–5
wit and judgment: and age-in-love trope, 11; bearbaiting as contests of, 123; Castiglione on, 82, 84; and Falstaff, 77, 81–84, 101, 112, 147, 149, 181, 182, 187; and gerontocracy, 15–16, 20, 190; laughter as form of, 11; and masculinity, 84; in Merry Wives of Windsor, 115; political, 9, 14–15; for royal favoritism, 68; theater as place of, 9–11; and Twelfth Night, 123, 142
Wittek, Stephen, 10